I
hate records like this. You know,
the ones that have so many marvelous things happening that you'll never
be able to tell everyone about all of them. I mean, how do I tell of the
small things, like some of the amazing cymbal patterns being played by
drummer Joe Babiak; or the wicked bass lines being played by bass virtuoso
William Kopecky; or the variety of keyboard segments from keyboardist
Nibandh Nadkarni that had me scraping my jaw off the linoleum? What right
do these guys in Parallel Mind have, making me review this complex and
utterly astounding record of theirs? Yeah, that's right, they're "making
me" do this review; because, you see, I haven't been able to sleep
since I started listening to this stuff. And, until I tell the world as
much about this record as I possibly can, I will not be able to rest peacefully.

Parallel
Mind is a progressive, almost jazz fusion, trio consisting mainly of keyboards,
bass, and drums. They will, at times, sound like 70's classic rock bands
like Kansas, Yes, Angel, or Emerson, Lake & Palmer. At other times,
their sound will be more Herbie Hancock meets Bob James with Narada Michael
Walden on drums. (And let me tell you, I don't get reminded of Narada
very often while listening to music today. Drummer Joe Babiak is one very
special, gifted musician.) And, to top it all off, these sounds are all
arranged with a modern Dream Theater-like precision and intensity. So,
here's what I'm going to do with this monster. I'm going to give you the
breakdown of each thing that needs to be heard here, and give you the
exact place to find each of them. Damn these guys for making a stinking
record review into a seminar on music theory and analysis. Jeez.

1. Chromanic

0:01:
That's
right, from the very first second things get interesting. We hear
the staccato pounding of high pitched keys that remind the listener
of the shower scene in "Psycho".

2:15: Bassist William Kopecky assumes
a lead guitar-like role, and carries the entire song with a simply
pulchritudinous riff that has the rest of the band stepping back for
a few moments. This is a quality that Kopecky has shown me numerous
times with some of his other projects, and a rare quality only found
in the best of bass players.

5:40: Guest musician Saar Schnitman unleashes
a guitar solo that acts as a centerpiece to the fourteen minute-plus
song. The setting for the solo makes for a moment that is reminiscent
of a solo from, say, "Time" from Pink Floyd's classic, "Dark
Side Of The Moon"; but at the same time, the guitar sound is
more Yngwie Malmsteen than David Gilmour.
A really interesting and beautifully placed solo.

7:52: A drum segment that smokes.

8:05: A trumpet solo that smokes.

8:51: A Deep Purple-like keyboard solo
that smokes.

2.
Opposite Of Know

0:40:
Yeah, it took a whopping 40 seconds this time. Excuse me while I piece
my jaw back together. This is a keyboard intro of lightning speed,
and a vibrancy that sets the tone for a perfect arrangement.

4:04: A new keyboard sound is introduced
that is reminiscent of, say, 70's keyboard-based band Angel and their
keyboard master Gregg Giuffria.

5:50: Just another straight out keyboard
solo jam, backed by one of the best rhythm sections you will ever
hear.

During this entire track we hear drummer Joe Babiak going through
an excruciating drill with rolling toms, and some shining percussion
that is just flabbergasting. And, of course, Kopecky is doing his
thing once again.

This song has an overall mood and keyboard sound reminiscent of, say,
"Magnum Opus" from the great Kansas album "Leftoverture".

3.
Colossus ADEA - The Guardian

Another
song reminiscent of the Kansas keyboard sound. This may be the best
track to hear Babiak and Kopecky give a clinic on what a rhythm section
should sound like. They hammer out a groove while doing all sorts
of fills, and the like.

4.
Into The Depths

With
whale-like sounds that seem to be submersed, and a haunting Indian
Classical vocal from Suman Nadkarni, this is a song that plays out
like the score to a horror film or some "Titanic" dark moments.
This is definitely the "moodiest" piece on the record. It
takes the record in an entirely different direction, without jeopardizing
the flow of the record in the least bit. The track comes at a perfect
time in this set.

5.
Underwater Cities

0:01:
Listen to bassist William Kopecky follow the piano intro. His playing
compliments the piano piece perfectly. And as the piano piece changes,
Kopecky's playing changes also, but never strays from keeping the
flawless rhythm of the song.

2:26: Keyboardist Nibandh Nadkarni changes
the sound of his keys, and plays an ELP-like solo that acts like the
traditional guitar would in any classic rock song.

6.
Resurface Earth

0:01:
Listen to that drum intro. Yes, yes, yes.

0:48: Kopecky is playing a 6-string bass
on this record, and he shows you what it is capable of here. He plays
a small accompaniment solo that shines.

1:38: Once again, the keyboards change
and play out like a wailing guitar before settling back into the base
rhythm of the track once again.

7.
Casa De Jig

0:01:
Oh my, what a great melody! Listen again to Kopecky just go into a
frenzy of funky bass fills here, and throughout this entire track.
This guy is unbelievable.

4:04: The band goes into a Latino-like
jig, complete with a jamming trumpet, and then settles back into the
form of the song.

5:36: Hand claps. That's a sure intro
to a Irish fiddle led jig; and the group does not disappoint. With
guest violin player Hamid Assian playing his fiddle like a true Irishman,
it's enough to make The Dubliners or The Drovers stand up and take
notice.

This is my favorite song on the record for a number of reasons. The
light, airy melody is loose and free, and just a joy to listen to.
Kopecky's bass on this track is stupendous, and I just can't believe
I'm actually hearing someone this good. I think this song is artistic
genius that incorporates all the great elements of Jazz, while sticking
to a progressive rock style. Amazing.

8.
Beginning's End

0:01:
What a menacing intro of swirling synthesizer! This thing just screams,
"I'm going to be heavy!"

2:05: Babiak starts it with a drum beat,
Kopecky rocks a brilliant bass line, and then Nadkarni lets loose
with a dark, crushing keyboard sound that is just devastating. The
darkest moment on the record happens right here, and it's beautiful.

5:12: Ahhh . . . yet another incredible
bass solo.

9:44: After a dreamy dip in the song's
progression, a welcome change in keyboard sound opens up into an elaborate
solo of grand proportion, and then gently walks us through to the
end of the track, and the album.

These
are stunning performances that I am still amazed by. These are three of
the most talented musicians in the world.

William Kopecky proves, once again, that he can play anything. With The
Flyin' Ryan Brothers and Michael Angelo he plays hard rock, with Far Corner
he plays an eclectic chamber sound, and here he plays a jazz fusion /
progressive rock chart, much like his primary band KOPECKY, that is of
immeasurable skill.

Drummer Joe Babiak is a precision player. He adds drum fills constantly.
He plays his kit like a doctor doing heart surgery. A finely crafted,
perfectly executed attack that leaves the patient thankful he had the
procedure done. I mentioned Narada Michael Walden earlier. I never thought
I would say this, but . . . this guy is pretty close. And then there is
the man on the keys, Nibandh Nadkarni. I cannot even begin to explain
what this man has done here. I can honestly say that this may be the best
recorded keyboard performance I think I have ever heard. I will just leave
it alone, right there.